During the years I worked as a producer at Atlantic Record Company, I established the Finnadar label which was attached to Atlantic, but, completely under my supervision. My aim was to bring together the composers and interpreters I liked. Finnadar released many recordings during a period of over ten years (around 35 in total). One of the main interpreters recording for Finnadar was Idil Biret. It was a pleasure working with her. I made the first Direct-to-Disc recording with her in May 1977 (Prokofiev’s 2nd and 7th Sonatas and works by Chopin and Scriabin). I am very happy that the LPs of Idil Biret are now being released on CD on the IBA label to be distributed wolrdwide by Naxos.İlhan Mimaroğlu - New York, 2010

“We are in the presence of one of the greatest virtuosos of our time. I do not see in her generation any other pianist who possesses an equal mastery of the keyboard, in the service of such a mature mind so rich in imagination.”Marc Pincherle NOUVELLES LITTERAIRES (France) 1959

“No doubt remained as soon as the piano began to reverberate: on the stage was a first class musician and a maestro. Miss Biret’s interpretation is not accidental. Her attitude towards the works she is playing is the result of meditation. The art of Idil Biret gives joy and emotion.” D. Blagoy SOVIETSKAIA KULTURA (USSR) 1960

“Igor Stravinsky’s Three Movements from Pétrouchka is a musically challenging and unusually difficult score which has to intimidate any pianist in his right mind. Every few years the stereo LP era has engendered a performance of this blockbuster, each deficient in some important aspect… Thanks to Idil Biret, all of these recordings are obsolete…This performance is not only the highlight of the disc; it is one of the landmarks of recorded music and belongs on anyone’s list of Great Recordings.” FANFARE MAGAZINE (USA) 1977

“Four excellent contemporary classical piano pieces. The album opens with Session, which was written specifically for Biret by Ilhan Mimaroglu. It involves not only piano but also considerable electronics and several voices. Biret’s performances are spirited and her technical command is superb.” CONTEMPORARY KEYBOARD (USA) 1978

“Idil Biret’s reading of the Berlioz/Liszt Symphonie Fantastique (Finnadar), in many respects, is the most remarkable thing of its kind in the repertorie.” Max Harrison GRAMOPHONE (UK) 1979

“For well versed insiders of music, Idil Biret is since years a trusted and respected artist. Her Scriabin, Bartok and Prokofiev interpretations are exemplary classical benchmarks. The discipline of her powerful grasp and approach of the music has led, especially for works of our century, to a stylistic congruence between the written score and the interpretation, that is way outside of the usual norms of conventions with so called ‘star raving and rantings’, which, in the case of Idil Biret, makes us all aware of an outstanding artistic potency of the highest standards of excellence.”DIE WELT (Germany) 1979

“I slipped out (of the hall) and down Broadway to the Merkin Concert hall, where the Turkish pianist Idil Biret was giving a rare performance of Pierre Boulez’s Second Piano Sonata. Miss Biret’s way with the piece was astonishing. She slammed into the keyboard and attacked the music tempestuously. She played from memory and drove the music with an unrelenting virtuosity. All the gestures of the work – the stark contrasts of register and volume, the angular structure of the phrases, the sharp delineation of the part-writing – were there in outline…This was a gripping, impressive account of a commanding score.” THE NEW YORKER (USA) 1982

“Idil Biret not only recorded all nine of the Beethoven symphonies in less than a year but, in a superhuman feat which astounded all those who know about music, she also publicly performed all of them in four recitals at the Montpellier festival in France. To learn and also memorise scores of such length and difficulty in such a short time is a mind-boggling achievement.” Peter Cossé FONOFORM (Germany) 1986